For a while, the performances are nuanced enough to distract from the film’s implausibilities.
Thomas Vinterberg’s latest, like The Hunt, is ultimately a parable about breaking a social contract.
“How do we get ahead of crazy if we don’t know how crazy thinks?”
The film stages its claims through clunky dramaturgical scenarios, with the seams exposed at every turn.
The film plumbs enormous tension by resisting precisely the kind of sensationalism that seems to be the siren’s call for this kind of story.
Tobias Lindholm’s hostage-negotiation drama wields its verité
style for maximum tension.
The real world, or at least the attempt to transmit some finite aspect of it, has been the aim of many a film.
The film is as much a nail-biting thriller as an experiment in narrative dualism.
Lindholm and Noer, who started out as documentarians, spoke with Slant about their experience making R.
Since R focuses on complete mental and physical fragmentation, it rightfully separates the desolate locale based on narrative focus.
The filmmakers are committed to carrying on the tradition of Dogme 95.